This
continues the series of articles inspired by or based on words from
the famed improviser and teacher David
Razowsky from USA, once the artistic director of Second City,
on SCTV, and a prevalent voice in the improv community all around.
Having spent some immense moments with the man, it has led to a lot
of wonderful results. However, unlike the previous articles, this one
shall be aspects that tie tightly with his thoughts. On the podcast,
“ADD Comedy with David Razowsky and Ian Foley,” (Razowsky, 2014)
the topic of words comes up. In previous writings this has been
discussed, although not precisely on the economy of words. Razowsky
believes that words are powerful and has various thinkings about the
area of discussion that shall be explored. Economic words are an
enabler for people.
The
exaggerated end, and a bit that appeared in conversation on the
podcast, of being economic with words is the concept that people die
after x amount of words. The idea is that anyone that talks
aimlessly or pointlessly will be taking up their life quota of words.
Razowsky speaks about how someone driving around chatting a lot may
just suddenly die mid-sentence. The overall message that this can
offer is summed up by Steve Job's (News.stanford.edu, 2014), “Your
time is limited, so don't waste it... .” Words will stop at some
point, maybe not the mystical cause of the definite end, but it shall
all stop. Treating words like they matter is important; be concise
with your words.
Every
word matters. To begin with writers, Melissa Donovan states, “Finding
the right word can breathe life into an otherwise lifeless sentence.
When we choose words carefully, our writing is clearer and more
meaningful.” (Donovan, 2014) Training ourselves to become clearer
and more meaningful is a productive task. In comedy, someone once
said to put the funny word on the end of the sentence. Obviously that
would make sense, as the laugh in the middle will stop the sentence.
Even with a statement that is deemed funny; the laugh needs a spark,
an end term or conclusive moment to instigate it. Annie Binns (2008)
describes it as “...applying the funny word, phrase or sentence at
the last possible moment.” Seeking out the best wording is a
practice and can be beneficial to general communication.
The term
eloquent exists for a reason. From the late fourteenth century Old
French eloquent and Latin eloquentem (Etymonline.com, 2014), which
means to have the faculty of speech. The act to truly be heard,
understood and cause purpose comes from having the capacity to speak.
Therefore, being mindful of what is being said will ensure the words
found are the best suited to the purpose of what is being
communicated.
“Be
careful what you say and protect your life. A careless talker
destroys himself.” (Biblesociety.org.uk, 2014)
Following
on, the proverb given in the Good News Bible offers a further
development on the mindful ideal. Words matter and can hurt. The
consequence of what you say shall last in memories. Our memories do
not help this either. As Kantor created plays about, memories are
forever dying (Kantor, 1990). Northwestern medicine proves this:
“Every
time you remember an event from the past, your brain networks change
in ways that can alter the later recall of the event. Thus, the next
time you remember it, you might recall not the original event but
what you remembered the previous time.” (Paul, 2012)
As our
brains betray us and transform our memories, as Ian Chant (2012)
mentions, we will deepen the origin feeling about what someone has
said or may have said. A good reason to communicate clearly.
Stopping
a sentence mid-sentence can also embody the whole sentence. As long
as the half sentence holds the complete meaning... Another thought
Razowsky (2014) played a bit about was being able to stop
mid-sentence and still be understood. Completing the communication of
the sentence being spoken without finishing the sentence can be
possible. It is clearly doubtful in writing; however it is a reduced
array of tools used in this medium. Through using the listener
against themselves, it is viable to make the person assume the rest
of the sentence. In embodying the whole meaning in half the sentence
the speaker is creating their point with the minimal effort. This
does happen in reality, but it goes unnoticed due to being in
friendships or with people that know each other well. Something
unsaid could be communicated that can also happen in these
circumstances. However, when speaking we desire clarity.
Say what
is meant. Clearly it is important to be mindful of what is being said
and be clear. Subtlety is prone to obvious interpretation. All
language is, but when someone is only hinting at the meaning, the
problems arise. As improvisers such use of subtleties will ensure the
scene partner more work. Improvisation is not work, it is play.
Therefore, the contradictions prevail the point that improvisation
requests clear meanings. Say what you mean and the other improviser
shall be in a better position to react and respond. Often improvisers
'waffle'. It is a tedious trait that is sometimes taught due to the
need to get a lot of detail out at the top of the scene. Spolin's
theories on using the 'who, 'what' and 'where' are a useful training
tool that will capacitate the scene. A frequent error in teaching is
that these are spoken. Physicality beats words. As Jeff Thompson
(2011) breaks the old percentages of communication down to the
reality; Thompson recapitulation states seven percent of certain
situations are the words themselves. Fifty-five percent is body
language, which means the details of an improvisers scene are best
from non-verbal creation. It also does not bore the audience with
'waffle' at the top of a scene. Johnstone's theory of 'nothing,
nothing, something' (Johnstone, 2009) asks the actors to do nothing
until that something organically arises. Furthermore, the statement,
“...I mean...” is another attribute that improvisers can be prone
to develop. Similarly to the 'waffle' issue, this one has been
available to read about and hear on podcasts and similar; however,
only recently has it been able to witnessed locally. The need to use
the phrase “...I mean...” means that the improviser is not
endeavouring to be clear. Improvisers definitely wish to portray
people onstage, but in everyday life it is not possible to hear it as
much as onstage. The potential reason to why this has arrived is the
judgement or expectation that is linked to playing in a more
complicated manner. Certain methods may put performers into thinking
and due to that, they talk without being mindful of what they are
saying. Beat the issues by purely saying what you mean.
To be
mindful of what we say is important onstage. Talking too much maybe
leads to death. If we do have x numbers of words before that moment,
then we better be careful; live and play like that is true and real
and the words will always be clearer. In doing so we find that the
words matter more and we don't just say something for the sake of
saying something. Perhaps even getting to a point where we can stop
mid-sentence and have a complete … So mean what you say.
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